As hilarious as Regina Hall, Sterling K. Brown, and their Honk for Jesus. Save Your Soul. co-stars frequently are, you're left as likely to well up from pity as from laughter. This is a truly rare bird: a mockumentary drama. With loads of cringey giggles.

No one wants to get mugged, but I was delighted to have Three Thousand Years of Longing sneak up on me and knock me out.

A prequel to the 2009 horror yarn whose moderate success didn't suggest the likelihood of follow-ups, Orphan: First Kill is an extremely unlikely movie in more ways than one: It's unrepentant, obscene, even laughable trash, and about as much fun as I've had at the cineplex all month.

Interestingly, in a weekend that saw the arrival of precisely zero new major-studio movies, the three local releases we did get all featured significant characters who earned a living through their podcasts, YouTube channels, and/or Instagram accounts. Once upon a time, on-screen professionals focused on careers in advertising and architecture. Now they're only focused on themselves. Eh, it's 2022. Guess that makes sense.

As a movie lover/reviewer who's been at this a lo-o-ong time, it should go without saying that I almost never see a film anymore that I'd consider calling my new all-time favorite. But every now and then, I do see films that I'm pretty certain will be somebody's new all-time favorite, and director David Leitch's comedy thriller Bullet Train absolutely feels like one of those titles.

In his first outing as a feature-film writer/director/star, B.J. Novak does a lot of very smart things in Vengeance; while I've enjoyed a bunch of movies this summer, none of them has been the low-key, completely unanticipated surprise that this comedic thriller proves to be.

Did you know that UFOs (unidentified flying objects) are now, instead, routinely classified as UAP (unidentified aerial phenomena)? Until seeing Jordan Peele's Nope, I had no idea – just as I had no idea that the writer/director/producer could so successfully harvest the Spielberg/Shymalan oeuvres for his specific needs, or that the image of a monkey staring directly into the camera lens could so thoroughly freak me out.

Barring only a few minor plot twists and one major (terrible) one, I certainly felt as though I had read both of these un-read books, considering that their movie adaptations come off as under-imagined page-to-screen transfers terrified of alienating their fans with anything approaching spontaneity, surprise, or the intrusion of real-world complexity. Only in the case of one film, however, does that prove to be a deal-breaker.

It's entirely possible that no one other than Taika Waititi could have crafted a joke-heavy Marvel Studies adventure involving abducted, imperiled children and a heroine suffering from stage-four cancer. It's equally possible, regarding Thor: Love & Thunder, that the filmmaker maybe shouldn't have.

The only things I actively remember from Minions: The Rise of Gru were the hilarious antics of Minions Kevin, Stuart, Bob, and Otto. And I barely remember them at all.